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fhe Smokv Vailed 



The Smoky Valley 



graphs of the v 

K 



Birger Sandzen 

veil 




LLEY 

K 



Copyright, 1922, by Carl J. Smalley 

Kansas City, Mo. 

Published December, 1922 



Printed by the Republican Press, 

at McPherson, Kansas, 

in the United States of America 



C1A690894 

M ~2 '23 



Snndzen and His Friend, the Smoky. 

When Birger Sandzen looks into the a 
farmer of F I ... \\ | ien | A0 

. Ke see- I to) the 

riilden I he makes the World feel I K 

spirit and the power o) K 

. . 

Mil of It . 

rate in black and whit Is and the 

meaning o) the Smokv Mill River, lv in 

and out ai 

I he S i i R 

the early homesteader valued il l^ecause if 

and his il 

I hen came B Sand the 

i in the I I Isborg. Almost immi 

• 
to a land o) man} I I I haunted the hanks 

oj the river that I I ,1 the 

n 1\\ celebrating it 
",c.\n\ taught the 
for the prairie. 

It was so that B love tru K 

landscape. But prst he sought the J hank? of the Smoky. 

B funlight and moonlight he studied it. Folk 



ful bindings, he caught the poetry of Kansas,— the tired droop of 
cattle as they came to drink at dusk, the grouping of horses in 
hillside pastures, huddled cottonwoods like shy children along the 
clean banks of the stream. 

Finally the riVer taught him to see the masterpieces of art in 
the strong and rugged faces of the pioneer farmers whose land 
stretched along the riser's bank. 

He saw faces in vv'hich courage had drawn with a true hand 
lines of self-conquest. He saw the beauty of fingers knotted and 
bent with much serving and the glory of dimmed e$es. The 
pioneer men and vJomen of Kansas w^ere crowned by Sandzen 
w^ith the splendor of their deeds. 

But always he returned to the quiet river, grateful for the 
woods that hugged its banks and were mirrored in the water. His 
passion for the Smoky grew and deepened. It became to him the 
heart of Kansas, and Kansas, through the Smokj), became his friend. 

And arWa^s, as he tramped up and down the river's banks, 
he saw in miniature the grandeur he was later on to find in the 
Rockies and the m^sterj) he was to sense in the Grand Cannon 
of the Colorado. 

As he painted outcroppings of rock in the hillj) pastures, he 
was preparing unconsciously for his work of grOing expression to 
the gigantic cliffs and mountains of the great West. Tributaries 
of the Smokj), overflowing their banks in the spring freshets, ran 
dry in summer and provided the artist with beds deeply fissured 
like their titanic model, the Grand Canyon. 



I he kilt are small re. R dues. 

I slope to the .Vr. bonk of rl-u S v nolzen 

climbed from bank to mini re he lool 

prair:. 

is the 

of the past and the hope of th | I 

I hus if is th • • the 

up behti • the fl r i - 

night we, but 
the land it h i kecL 

As a lithogr 
perhapf n H 

e of 

■ 
that 1 the I i»r he so 

ful homeliness of the farmstead 
lerp from i wild 
pines 

fN - LP 



►ummer 



Storr? Pasture Witk Cottonwood GnrOe 



The Old Homestead 



Portrait Stud}) 



TWigkt 



In Tke Meadoxtf 




M *+ k 



mm 



-*£ 



*-:otaf* 



Home of A Pioneer 



Smoloy) Ri\)er 



Hilltop 



WilW 



WfijffSP 






. „ **>.// 




Horses in a Hilrj) Pasture 



Rn)er Motif 



Abandoned Farmkouse 



Trees and Hills 



Willows by The Smolc\) Rn)er 



Olof Olson's Homestead 



Pond Witk Cottonwood Trees 



H1II3) Pasture Witk Cotf s 




-?^»JP» 




I 




In the Park 



Ri\)erbank 



Copies of the lithographs reproduced in this Volume, 
limited to fift;9 proofs each, may be obtained from the pub- 
lisher. Prices from six to fiftp dollars each. 



CARL J. SMALLET, 

Kansas City, Mo. 



H 45 85 




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